Premiere: Mikal – Scrapyard Dub (Metalheadz)

“Scrapyard Dub” by Mikal is taken from his second LP for Metalheadz titled “Metalwork”. The follow up to his debut album “Wilderness”, see’s the Swedish born producer deliver a further 16 tracks to the Headz archive with strong sonic clarity.

With such an extensive back catalogue, Metalheadz has been a trailblazer in the drum and bass scene for almost 27 years. During that time styles have changed as the scene has evolved, complex breaks that were so prominent in the early years of the label were, at times, replaced for weighty kicks and sharp snares. What people describe as the “Metalheadz sound” can vary from person to person, and what makes this album so good is that Mikal acknowledges this with a variety of Headz styles. For the old-school crew there are tracks like “Break It” and “Breaks And Pads”, not surprisingly heavy on drum edits and retro leanings. Cuts like “Magnetic Sound” and “3rd Eye” focus on obscene Reese basslines and snarling FX. While “Strident” returns to the Blue Note with a “Metropolis” style intro, twisted mentasms and a tough kick and snare combo.

“Scrapyard Dub” covers the cutting edge, experimental side of Headz. Distorted bass tones, filtered drum rolls and delayed vocals create a sinister Metalheadz take on dub, subdued but dangerous like a sleeping lion.

“Metalwork” is a well-rounded album that manages to deliver surprises while respecting the heritage of the label. Whatever your definition of the “Metalheadz sound” is, there will be something on this album for you.

The LP releases October 19th, 2020.

Buy: https://backl.ink/metalwork

Premiere: Eusebeia – Infinity (Earthtrax)

“Infinity” by Eusebeia is taken from the fifth release on Bristol-based label and sound system, Earthtrax. Both vinyl and digital versions will be available to pre-order from Tuesday 27th of October 2020, direct from the Earthtrax Bandcamp.

Featuring dubbed-out atmospherics and hardcore breaks, the EP is a blend of both modern and retro jungle. Covering a variety of BPM’s the 12″ challenges the notion that all drum and bass needs to be 160-170+

We caught up with Eusebeia for a quick chat on how he got started and his “Infinity EP” release.

So, before we dive into the EP, can you tell us a little bit about yourself and how you started producing?

Sure, so I started writing music around ten years ago which came about as a natural progression from DJing and just being into music – from early on in life I knew music and art was something that had a profound effect on me. I came to realise it was the thing I wanted/needed to do so I just kept on that path.

Ah, what kind of stuff were you DJing back then?

Drum and Bass mainly at that point, I got my first set of decks in 2005-2006. I used to practice with my stepdads house and trance records, along with some jungle and hardcore I had bought and started playing parties and some events from 2008 onwards.

I’ve often wondered that as your music covers a wide range of tempos, and your production style often features techno style melodies. Did you like those house/trance records or only use them for practice?

Yes, I grew up hearing a lot of house, techno and trance.

What is it about those styles of music you find inspiring?

The free form nature of them, and that there’s probably more hybrids than any other style of music, the cultural aspects, and like with any music just how it can make you feel.

Does any artist, in particular, stand out as an inspiration?

Everything I’ve heard and liked has inspired me in some way so that’s a tough one, but if I had to say, I suppose Massive Attack have always been inspirational to me… “Mezzanine” was one of the first albums I heard that really had a powerful effect on me.

There’s a strong emotive current that runs through your music, I got quite disheartened at one stage talking to old producers I admired who told me there was no real message in their music.

Oh, that’s a shame to put it lightly, but unfortunately, some people make music with false intent and/or no real purpose which is kinda shit.

What’s music without a message/purpose?

Exactly, there has to be some kind of reason at least for doing a thing, even if it doesn’t make much sense or is somewhat unclear at the time.

So how do you go about capturing these emotions in your music, what’s your creative process?

First of all, anything done must be done as simply as can be, and with pure intentions, it must be honest. If I feel a particular way I will create a melody or a mood relative to that feeling and go from there. The tracks either stem from an emotional/personal thing or an intellectual idea or concept, but often the two are interlinked in some way.

I write notes and keywords which I use to help me express ideas, and I tend to work quite quickly to get things out while they’re fresh.

Alongside the music you also create art, including the design work for this 12″. Do you adopt a similar process?

Yes absolutely, with the visual art it’s just more hands-on and practical like I won’t write any notes for that.

I think of your collage work like visual music production, fusing images and textures like audio samples

Yes definitely, what I’m doing with images and audio is essentially the same.

Onto this EP, what moods and emotions are explored throughout the four tracks?

I wanted to make it feel quite expansive and all-encompassing, it definitely embodies both the dark and light, and above all else, the balance between the two. In some places, it feels so certain and triumphant, jovial and clear, and then at other times it’s very unclear and uncertain… it kind of mirrors life in that way, the constant changing of things, the ebb and flow.

The track we are premiering today is titled “Infinity”, what’s the story behind this one?

This is the title track of the EP and ties the other tracks together nicely. It references the Infinity symbol which is the symbol for eternity, the cycle of life, death and rebirth, and the seemingly boundless nature of the universe

Last thing… where can people get it?

Direct from the Earthtrax Bandcamp, and usual stores including Redeye, Disc World, Juno etc

Links: Bandcamp / Eusebeia

ET005

Premiere: Lo Chi – After Effects (Dead Trax)

“After Effects” by Lo Chi is taken from the forthcoming compilation “The Grooveyard: Volume 1” on Dead Trax. Featuring thirteen tracks in total, the collection covers Garage and Hardcore sounds in the first half and Jungle/DnB in the second. The release will be available in digital and physical formats, with a limited edition cassette tape now up for pre-order containing a bonus track and stickers.

Lo Chi is a DJ/Producer from Bristol, UK, the home of jungle luminaries Roni Size and Krust plus more recently pioneers Om Unit, Pessimist and Vega. He opts for a vintage dark 90s sound for his contribution to “The Grooveyard”, with chopped Apache, Life Could and Amen breaks, menacing strings and Kung Fu samples all adding to the hostile nature of the track.

The compilation is a far-reaching and refreshing combination of sounds influenced by the 90s, ranging from 125-160+ BPMs and featuring retro artwork by BARE1 & Nathan “Boris” Carr. Other contributors to the compilation include Local Group and Margari’s Kid.

Head over to Bandcamp to pre-order the release now.

Buy: deadtraxuk.bandcamp.com

Various Artists – The Grooveyard: Volume 1

Tracklist:
A1. Earthnut – Even
A2. Hartta – Aku Dub (Ten Levels Remix)
A3. Grave Grooves – 66
A4. Hartta – If You
A5. Local Group – Fire
A6. D. Perignon – Glow Worm
A7. Agora – Reach 4 The Lasers
B1. Digital Diógenes & Hartta – Running Wild
B2. Margari’s Kid – Serotonin
B3. Grave Grooves – Fuel
B4. San – Everybody Out
B5. Lo Chi – After Effects
B6. Occitanie – Homecoming

Two Hungry Ghosts Chart (October 2020)

Various charts covering forthcoming promos, new releases, forgotten gems and timeless inspirations.

Dave Sector – Two Hungry Ghosts (October 2020 Chart)

J Majik – Your Sound [Photek & Digital VIP] (Infrared)
Source Direct – Street Wars/Diamonds [Previously Unreleased] (Self-Release)
Venom – Dreadnox (AKO Beatz)
DYL – Acvatic LP (Forthcoming Diffuse Reality)
Karim Maas & Outer Heaven – The Force (Forthcoming UVB-76)
SK-1 – Shockout Fass [X-Altera Remix] (Forthcoming Sneaker Social Club)
Dominic Ridgway, Stratowerx & Magugu – When I’m On [Constrict Remix] (Forthcoming Regression Media)
Margari’s Kid – Serotonin (Forthcoming Dead Trax)
Kyam – Duplicity [Homemade Weapons Remix] (Forthcoming Unbidden Audio)
Forest Drive West – Para (Forthcoming Sneaker Social Club)
Type – Cola Cube (Forthcoming Sweet Box)
J Majik – The Whistle Song (Infrared)
Eusebeia – Infinity (Forthcoming Earthtrax)
John Rolodex – The Rainmaker/Interdimensional Espionage (Metalheadz)
Friske – Untitled Killa (Forthcoming Metalheadz)
Mikal – Breaks And Pads (Forthcoming Metalheadz)
4hero – Universal Love [Previously Unreleased Internal Affairs Remix] (United World Music)
Martyn & Om Unit – The Passenger EP (Forthcoming 3024)
Hagan – Ultra (Gobstopper)
Hartta – If You (Forthcoming Dead Trax)

John Rolodex – Machinist/Metalheadz (October 2020 Chart)

Dioptrics – Kirin (Forthcoming Machinist)
RMS – Leaving (?)
SDS – Black Water (Forthcoming Machinist)
Sureshock – Heavy Metal (Forthcoming Machinist)
HLZ – Polar Dreams (Metalheadz)
Mikal – Metalwork (Forthcoming Metalheadz)
Friske – Untitled Killa (Forthcoming Metalheadz)
Goldie – I Think Of You [Digital And Spirit Remix] (Metalheadz)
Hex – Slug Proof (Free Love)
John Rolodex And Embers of Light – Fever Dream (?)

Mister Shifter – Artikal Music UK/Skeleton Recordings (October 2020 Chart)

San – Half In (Forthcoming Rua Sound)
Sully – Memories (Astrophonica)
LSN – Join Em [Mister Shifter Remix] (Forthcoming Artikal Music UK)
Tellus Featuring Akuratyde – Down River (Modern Conveniences)
Blind Prophet X Mister Shifter – Nice Now (Forthcoming Aufect Platinum)
Pete Cannon – It’s Like Ecstasy (AKO Beatz)
J Majik – Your Sound [Natural Born Killaz & Digital Remix] (Infrared Records)
John Rolodex Featuring Khadija – The Rainmaker (Metalheadz)
X Nation – Lightning Message (Self-Released)
Quartz & Patwan – Brass Knuckles (Forthcoming Metalheadz)

Rawtrachs – Futurepast Zine (October 2020 Chart)

Between Walls – Somewhere Else (Futurepast Zine & Modern Urban Jazz)
Wooda – Revive (SYN12)
Sun People – Hyph Mngo [Edit/Booty] (?)
Aybee – Wind Speak (Deepblak)
Skin Teeth – Saxon Street (Club Glow)
Zeki 808 – Live Wire (Illian Tape)
dYstance – Let’s Go (Top Drawer Digital)
Dark0 – Evisu (Gobstopper Records)
SLVJ – La Charca Dub (SLVJ)
Abra – Pull Up (True Panther)

Selectabwoy – Mixtape DJ/Sample Digger (10 Tunes That Helped Me Through 2020)

Pure Science – Drifting (Strictly Jungle)
Senses – All Over (Subtle Audio)
G-Force – Proximity [ASC Remix] (Free Download)
Ilk – Future Shapes (Self Released)
FFF – It Began In Man’s Mind (Myor)
Dan Curtin – Parallel (Peacefrog)
AFX- tha2 [World Scam Mix] (Self Released)
Apogee – Inside Above (Peacefrog)
The Black Dog – 4.7.8. (GPR)
Merking 9-5 – Biggie Smith X Robert Smalls [The Cure Done Changed] (Unofficial)

Dominic Ridgway – Regression Media (October 2020 Chart)

Sicknote – Coiled Miracle (RGNMLTD003)
Sicknote – Set The Pendulum (RGNMLTD003)
Jaskin & Uneven – Kaleidoscope (none60)
Antagonist – Through The Ages (Discipline)
Wagz – Lotus Flower (none60)
Lakeway – Crystal Waters (Diffrent)
Brand New Trumpets – The Workers (Diffrent)
Grappa – Stoneface (Stereocilia)
Zych – Die Wilden [Broken Promise Remix] (Urban Poetry)
Itti – Facts (A.W.R.A)

Tom – Resonant Frequency (October 2020 Chart)

Aver – An Ode to Joey Deez LP (Village Live)
Noya Rao – Stay EP (Self Released)
Richard Spaven and Sandunes – Spaven X Sandunes LP (K7 Music)
Eusebeia – Methods of Revival (Cymbalize)
Boddika – Walk Talk EP (Nonplus)
Ego Ella May – Honey For Wounds LP (Upper Room Records)
Funkonami – Deep Into Space LP (Village Live)
Jaskin And Uneven – Ashes/Kaleidoscope (none60)
Mark Kloud – Moonquake LP (Exkursions)
Neil Landstrumm – Chincy EP (Exit Records)

alg0rh1tm – Onset Audio/Din Is Noise (Eclectic Chart)

Valance Drakes – Led By The Beheaded One [Feast On Your Hopes] (laaps)
Mark Kloud – A Matter Of Time (Exkursions)
Eusebeia – Revival (Cymbalize)
Books – Mech (Fight Or Flight)
wb41 – Night Shift (Self Released)
Molez – Tiszta Emlék (Self Released)
Big Brave – Sibling (Southern Lord)
RQ – Interplay (Blu Mar Ten Music)
IRAH – Siu Hinama (Tambourhinoceros)
Dale Cooper Quartet & The Dictaphones – Le Implacable Gentilhommiere (Denovali)

Aaren – AGN7 Audio (October 2020 Chart)

dgohn – Tinsle (Analogical Force)
Nikitch & Kuna Maze – The Leak [Domu X Sonar’s Ghost Epic Remix] (Tru Thoughts)
Calculon & Rainforest – Homeboy Jungle (Forthcoming Shoot Recordings)
Indigo Virus – Oblivion (Forthcoming AGN7 Audio)
Indigo Virus – Resonance Cascade (Forthcoming AGN7 Audio)
Kamikaze Space Programme – Broken Glass (System Revival Recordings)
X-Altera – New Harbinger (Sneaker Social Club)
Trinity Carbon – International Bassline (Art-E-Fax)
Sully – Memories (Astrophonica)
Krust – Constructive Ambiguity (Crosstown Rebels)

J Majik – Your Sound (Remixes) Including Photek & Digital VIP

There aren’t too many words that will get 40+ junglists more excited than “unreleased 90s dubplate”, other than dropping the names Photek and Digital into the same sentence.

The two artists, who worked together on Digitals debut release “Touch Me” on Timeless back in 1995, also created a special VIP version of J Majik’s “Your Sound”, destined only for the dubplate boxes of the scenes ultra-elite… until now.

Due for release on J Majik’s Infrared label as both a limited edition coloured vinyl and regular black 12″, the VIP has been respectfully mastered by Stu at Metropolis (responsible for some of the most iconic cuts in jungle). The result is a bright and clear master, highlighting the sheer power of the iconic amen edits and heavy-hitting punch of the bass, which is pretty much still unequalled in drum and bass even to this day, here given extra vitality by Rupert and Digital.

Like Internal Affairs, the pairing of 4 Hero and Goldie, the combination of J Majik, Photek and Digital resulted in one of the most quintessential examples of 90s drum and bass recorded, with the “Your Sound” VIP fusing elements of each producer’s distinctive style into one perfect alchemy. This was no doubt partly due to the fact that the artists were spending so much time together, whether in the studio, performing or out on the road with Rupert, Source Direct, Peshay and J Majik virtually always being together.

Not much is known about the origin of this mix, other than J saying he used to often swap samples with Photek and this was made one night “off the cuff” as a special that never made it past dubplate. Even Digital wasn’t 100% of the origins of the track until a DAT was discovered labelling it as the Natural Born Killaz (also used as the name of the classic Photek EP on Metalheadz) and Digital remix.

With a seemingly constant stream of unreleased music now seeing the light of day and formulaic amen cuts the norm, a release like this reminds us all of the unrivalled energy of 90s drum and bass and gives us another glimpse into what it must have been like to be one of the scenes top-flight DJ’s able to draw for an exclusive Photek dubplate.

Now finally freed from J Majik’s coveted silver briefcase of DATS and backed with a new remaster of J’s own “Your Sound” remix (previously released on Razors Edge) which adds extra bass and additional warmth to the original cut, the 12″ and digital download will be available to pre-order direct from the Infrared Bandcamp from Friday 2nd October.

Buy: https://infraredrecords.bandcamp.com/music

THG Mix Series Volume 5: Daniel Maunick – Forgotten Worlds 93-96 Jungle

The fifth volume of the THG mix series sees a welcome return to Daniel Maunick, aka Venom. After the rapturous response to his “Late Nights At Speed 94-96” mix last year, Daniel once again fixes his gaze firmly on the past blending a fine selection of 93-96 jungle.

Covering an eclectic array of tracks, “Forgotten Worlds” captures the exhilarating sound of the 90s. Confirming to this day there are still new tracks to discover (or rediscover) and plenty of unheard dubs still to draw.

Including classics by DJ Ron and Foul Play, groundbreaking releases by Deep Blue and Krust right through to unreleased curiosities like the Dubplate Rollers Mix of “Say It” by Photek and the V.I.P. of Hidden Agenda’s “Flute Tune”.

You can check an interview with Daniel here, covering early jungle, broken beat and his productions.

THG Mix Series Volume 5: Daniel Maunick – Forgotten Worlds 93-96 Jungle (Tracklist)

DJ Ron – Mo Musik (African Lover Mix)
Sounds Of Life – Currents
Deep Blue – Thursday
FBD Project – She’s So (Revisited)
Funky Technicians – Day By Day
Dance Conspiracy – Dub War ’94 Remix (DJ Pulse & Professor Stretch Remix)
Roni Size & DJ Die – Agility Remix
DJ Ruffkutt & Bizzy B – 100 Degrees
Fast Floor – Timeless
Unknown Face – Step Down
Jammin’ Unit – Totally Unintelligent (Plug Remix)
Photek – Say It (Dubplate Rollers Mix)
Jonny L – Sam
DJ Pulse – Let You In (Wax Doctor Remix)
Baraka – I’ll Be There
Essence Of Aura – Northern Lights
Heavyweight – I Start To Cry
Danny C – Gamblers Deal
Dillinja & Mystery – Moods
Simon Bassline Smith – Midnite
Peshay – Endless Thoughts
PFM – Dreams
Foul Play – Being With You (Remix)
Hidden Agenda – Flute Tune (V.I.P.)
Dillinja – You
Krust – Jazz Note
Universal – Live Session
Octave One – Chillin Out (Deleted Mix)
Cold Mission – Dreamers
Rogue Unit – Dance Of The Sarooes
DJ Crystl – Give It Up
System EX – Say It
Flatliner – No Boundaries
Lucida – Tunnel Vision

Links: Bandcamp / Interview / Speed Mix / Broken Beat Mix

Premiere: Kid Drama – Thoughtcast 7 (CNVX)

“Thoughtcast 7” by Kid Drama is taken from the “2010 Again EP“, released on the artists own label CNVX. The four-track EP is available to purchase now direct from the CNVX Bandcamp.

Widely known for being one half of Instra:mental, Kid Drama has had a series of releases on highly respected and influential labels including Exit and Metalheadz.

Balancing autonomic with tech-step, Kid Drama creates a feeling that is futuristic and reflective. A sonic soundstage where percussion can have just as much impact as a kick and snappy snare. Basslines rumble with menacing intent, while razor-sharp drums add a technical edge to his visionary take on drum and bass.

Although the EP has a tech-step essence, it’s not all dark, with the reflective “Diazedaze” lightening the tone through the use of subtle pads and delicate strings.

“Thoughtcast 7” has a Deep Blue feel, with an aquatic techno vibe. Title track “2010 Again” is the darkest of the collection, although nowhere near a 96/97 level. With “Pivot” a fine balance of dark and light.

The “2010 Again EP” by Kid Drama is available to buy now.

Buy: Bandcamp

Premiere: Goldie – Redemption [Jon Dixon Ambient Edit] (Metalheadz)

Jon Dixon’s Ambient Edit of “Redemption” by Goldie is taken from Part 1 of the “Journey Man Remix LP”, forthcoming on Metalheadz. Part 2 of the remix series also features a four-four mix of “Redemption” by Jon, alongside fellow Detroit Techno producer, the legendary “Mad” Mike Banks from Underground Resistance and Galaxy 2 Galaxy fame.

Placed between the rolling jazz fused mix of “Truth” by Zero T and the uptempo robot funk of Belgian producer Phase and his take on “Prism”, the ambient mix of “Redemption” provides respite from the albums drum and bass core. Six seconds short of eight minutes long, the track unfolds gracefully, steadily building layers of lavish pads to create a soundscape that’s immersive and stirring, a sonorous symphony that oozes elegance.

Elsewhere across the two albums are remixes by Digital and the late, great Spirit, with a tearing mix of “I Think Of You”, a heavy powerhouse of energy and technoid funk. And mixes from the current roster of Metalheadz artists including Artificial Intelligence, Mako, Grey Code and Lenzman.

Remixes often shine best when transposed to a different genre, one of the reasons this ambient mix works so well is that Detroit Techno and Drum and Bass are perfect allies, with a similar formative history of young black producers eager to create a new sound, introducing elements of science-fiction to create something expressive, personal and futuristic. When the two styles come together like this in unison, they create a truly mesmerising cosmic atmosphere.

Both volumes of the remix series are now available to pre-order.

Buy: Goldie – Journeyman Remixes Part 1 / Part 2

We caught up with Jon to discuss the bond between the two genres, his production process and the “Redemption” remixes for Goldie.

I’ve always been fascinated by the connection between early drum and bass and Detroit Techno, a lot of my favourite artists were heavily inspired by what was going on over the pond in the Motor City, not just the music itself but the producer community working together to craft something new, resulting in a powerful musical movement. What’s your take on that? Were you exposed much to the jungle scene in Detroit?

I think community is important in any genre when you’re working towards something that is unique and in the moment. What’s amazing to me is that while Techno was evolving in Detroit, it began to make a powerful impact globally as you’ve mentioned. As Detroiters, we’re influenced not only by other musicians around us, but also our environment. Detroit in the 80s and 90s wasn’t the prettiest, nor was it a destination for tourists. Yet, across the entire city you had these “creative genius’” who were in their studios creating this music for the future….only to realize that it would slowly impact the world as it did.

There have been some amazing remixes between techno artists and drum and bass producers, the Claude Young mix of Jacob’s Optical Stairway (4hero) and the Alex Reece remix of Kenny Larkins “Loop 2” instantly spring to mind. What parallels do you see between the two styles and from a production perspective, why do you think they work so well together?

I think it’s the ear of the producer more so than the genre of the music. Personally, I’ve always loved finding similarities and differences when it came to doing a remix. In the case of anything Goldie has done and techno for example, I would have to imagine also that he’s gone through some things in life that triggers certain emotions. Those emotions go into the music and make it that much more meaningful. Everyone has their own approach to a remix. For me, especially since getting to know Goldie very well over the past 6 years or so, I knew what direction to go when he asked, and I also knew where I wanted to take it

How did you get the opportunity to be a part of the Journeyman Remix project?

In 2014 I met Goldie in Croatia in a van overseas travelling to an airport. The ride was about 3 hours but seemed like 20 minutes. Somehow, we both got on the subject of Pat Metheny and his music. From there I knew all I needed to know about him, and vice versa. We discussed Pat’s catalogue and the late Lyle Mays (Pat’s keyboardist for many years and my favourite keyboardist). Having never met before, we both understood the complexity of Pat Metheny’s music to be able to talk about it as if we both discovered it at the same time. It was that van ride that let us both know we knew how to understand music on a visual, emotional and spiritual level. We exchanged emails and I hit him up as soon as I got back to Detroit. As he mentioned in the van, he was going to start working on his new album and he wanted to involve me. I can’t mention how many early morning and late-night calls I got, emails, texts, you name it. Goldie knew exactly what it was he was hearing and how it should sound. And even though we were both in different countries, he was able to draw something from me that I didn’t know I could do. From those many conversations I was able to co-write ‘Horizon’, ‘Tomorrows Not Today’ and ‘This is Not a Love Song’. I was featured on ‘Run Run Run’ (piano) and ‘Redemption’. Since then I talk to G about once a month or so and he’s always involving me in many of his projects, including Subjective. He asked about me doing a remix a while ago and nothing made me happier than to say yes.

One of the reasons your Ambient mix blew me away was because it follows straight after the jazzy rolling remix of “Truth” by Zero T, you go from listening to these tight drum loops and deep bass to eight minutes of chords, FX and vocals. I’m sure a lot of people will listen to it as an album and think “when is the beat going to kick in”, it’s a powerful moment when you realise it’s not going to and the beauty of your remix unfolds. Have you heard the album in full and what did you think?

I’ve heard the album in its entirety and it flows very well. Goldie is very particular about that stuff and I know the ambient track was placed where it is strategically. All the remixes are incredible, especially when you know the original so well.

The album features two remixes of “Redemption”, the ambient version we are premiering today and a techno version featuring the legendary Mike Banks. What is it like working with him? Am I right in understanding he has been like a mentor to you?

Mike is a mentor yes, but much more than that. Before graduating the “UR boot camp”, Mike has spent countless hours showing and teaching me all he knows musically, but about the business side as well. He told me who I should know and work with. He also told me who to stay away from and avoid. Everything that I released always goes past Mikes ears and this remix was no exception. I let him hear it and he said “Jon, you should let me put some strings on it”. The rest is history. His strings really give the track that UR/Detroit sound and that’s what I was going for.

Talking of which, halfway through the original version of Redemption, it launches into the intro keys from Galaxy 2 Galaxy’s “Hi-Tech Jazz”. Where you tempted to feature those in your mix or was it a conscious choice to leave them out?

I was tempted at first, but I wanted to take the approach of doing something that wasn’t to be expected. If I were a listener and knew the song “Hi Tech Jazz” and to see that a UR member, was doing a remix on “Redemption”, I would expect to hear it in the remix. So I stayed away from it.

Can you run us through your mindset when tackling this project and the two remixes?

With the ambient mix, I wanted to create a mood. What type of mood that is all depends on the listener. I envisioned colors and layers,similar to the art Goldie does actually. With my remix that features Mike, I just wanted it to be good enough for Goldie and it was.

Can you let us know a bit about your studio and your creative process, what motivates you to sit down and produce?

My studio is 10 keyboards, a few smaller synths and 2 sets of speakers. Since I’m a musician first, I love using hardware so all my sounds come from my gear. As far as the creative process, it varies. Sometimes I’ll go into my studio and it’s completely silent. I’ll wait and see if I hear an idea. It can be a melody, a rhythm or a chord. Sometimes I don’t hear anything and I’ll shut everything down. Other times I have an idea of where or how I want to start a track. I never force anything. When I feel myself forcing parts into a production I save it and shut it down for a day or so. For me, making music is a way of life. It’s something that I know I was created to do. The world has probably heard only 2% of music that I’ve ever made, but everything isn’t meant to be released. I do it because if I don’t get the ideas out, it’ll drive me crazy. With the musical training that I’ve gotten over the past few decades Im grateful to be able to go into the studio and use my keyboards to make what it is I’m hearing, or what I’m picturing visually, or what emotions I want to evoke.

Finally, where can people find out more about you and can you recommend some of your back catalogue to people who are yet to discover your music?

My entire catalogue of 4EVR 4WRD can be found on my Bandcamp. And for other releases and collaborations I do my best to keep my social media updated.

Links: Bandcamp / Website / Instagram

Krust – Constructive Ambiguity (Crosstown Rebels) And LP Info

The first single from the forthcoming Krust album “The Edge Of Everything” is now available to stream via YouTube and other digital streaming services.

His first solo album since 2006 sees Krust deliver 11 brand new tracks, described as exhilarating, standout music of depth and substance. Those that have heard “The Edge Of Everything” have been talking about it enthusiastically online, with Jumping Jack Frost calling it “a masterpiece of artistic work”, Rob Booth from Houndstooth tweeting that the album “was worth the fourteen-year wait” and Om Unit declaring that, to him, “it’s the sound of a master transcending the genre”. With praise coming from such well-respected people, it suffices to say that this is one of the most highly-anticipated releases from one of the scenes early pioneers for some time. And based on these two tracks, the early signs are that it’s looking like it will live up to expectations.

Krust has always been versatile as a producer, a quick flick through his back catalogue will demonstrate how eclectic his tracks have been. From the pioneering jazz, house and jungle fusion of “Jazz Note”, to the edgy blend of political spoken word and sci-fi electronics that make up “Coded Language” (arguably one of the best vocal drum and bass tracks ever made), right through to the devastating dancefloor bomb that is the Steppa Mix of “Warhead”. Krust has delivered anthems for seemingly most areas of the drum and bass scene.

I’m glad to report, based on these two new tracks, that this album will once again see Krust return to the raw sound and experimental nature of the seminal Coded Language, released back in 1999 on Talkin Loud. In an era where a lot of people view drum and bass through the lens of a seemingly neverending avalanche of four-minute two-step releases with exaggerated foghorn bass lines, I’m hopeful “The Edge Of Everything” will alert electronic music fans from outside the drum and bass community to the vibrant 170 scene and the emotive, forward-thinking nature of producers like DYL, RQ, Shiken Hanzo and labels like One.Seventy, re:st and none60. It’s a healthy time for experimental modern jungle and, with a bit of luck, this LP may just help those often overlooked producers, who were regularly inspired by the likes of Krust and other jungle luminaries, to get their time in the spotlight too.

We’ll have to wait until early November to hear the complete album, and we’re certainly looking forward to checking it out in full, but until then the two new tracks are available to stream below.

Buy: https://lnk.to/CRM240

Krust – Constructive Ambiguity (Crosstown Rebels)

Krust – Tree Of Life (Crosstown Rebels)

Two Hungry Ghosts Chart (September 2020)

Various charts covering forthcoming promos, new releases, forgotten gems and timeless inspirations.

Dave Sector – Two Hungry Ghosts (September 2020 Chart)

X-Altera – New Harbinger EP (Sneaker Social Club)
Goldie – I Think Of You [Digital & Spirit Remix] (Metalheadz)
RQ – New Colours LP (Self-Released)
Sonic – Prince Of Cambridge (Sneaker Social Club)
Pessimist & Holsten – The Riot Tune EP (Hotline Recordings)
Forest Drive West – Impulse/Curved Path (R&S)
Kid Drama – Thoughtcast 7 (CNVX)
Tellus – Liberation EP (Modern Conveniences)
Earl Grey – French Exit EP (Inperspective Records)
Arcane – Labyrinth (Rua Sound)

Alexander – One.Seventy (September 2020 Chart)

Marked Red – Discretion (One.Seventy)
RQ – Sunset (Dawn)
Books – Cosine (re:st)
Karim Maas & Outer Heaven – The Force (UVB-76 Music)
Marked Red – Spiral Storm (One.Seventy)
Earl Grey – French Exit (Inperspective)
Tellus Featuring Quails – No Pride (Modern Conveniences)
Cryptographic – Echo IV (re:st)
Jaskin & Uneven – Kaleidoscope (none60)
LCP – Off Limits (re:st)

Akuratyde – Blu Mar Ten Music/Modern Conveniences (September 2020 Chart)

Mystic State – Vessel (The Chikara Project)
Akuratyde & Kharm – Enamoured (Microfunk Music)
Kid Drama – 2010 Again (CNVX)
Mark Kloud – Matter Of Time (Exkursions)
Kennedy One – Ocean Of Mine [Synkro Remix] (Kennedy One)
Akuratyde – Plume [Kid Drama Remix] (Modern Conveniences)
Sorse – Monotic (none60)
Lockjaw – Liminal (Locked Concept)
Cryptographic – Echo I (re:st)
Tellus Featuring Akuratyde – Down River (Modern Conveniences)

Chimera – Ronin Ordinance (September 2020 Chart)

Sully – Poison (Astrophonica)
RQ – Nectar (Self-Released)
Law & Wheeler – Early Reflections (Repertoire)
SB81 – The Drone Zone (DROOGS)
Pessimist – The Crawlers (Ilian Tape)
Riffz – N64 (Slap The Wall)
dgoHn – Monsoon Mercenary (Analogical Force)
Mark Kloud – Blood Dimmed Tide (Exkursions)
Akuratyde – November’s End [Silent Dust Remix] (Modern Conveniences)
Gremlinz & Jesta – Succubus (Ronin Ordinance)

Eusebeia – Western Lore/re:st (September 2020 Chart)

Phineas II – Dreamcatcher (Lucky Muffin Records)
Tool – Jimmy (Zoo Entertainment)
Distance – Fallen [Vex’d Remix] (Planet Mu)
36 – Hold On (3six Recordings)
Varg – Charm (Posh Isolation)
Akira Yamaoka – Wounded Warsong (Konami)
Balaam and The Angel – Thought Behind It All (Chapter 22)
Massive Attack – Mezzanine (Virgin)
Leftfield – Melt (Hard Hands)
The Opus – I come in peace (Ozone Music)

Sonar’s Ghost – Seventh Storey/Amenology (Top 10 Four Track 92-94 EPs)

Wots My Code – Wots My Code EP (Oxford ArdCore)
Metalheadz – Terminator (Synthetic Records)
Nasty Habits – As Nasty As I Wanna Be (Reinforced)
Rufige Cru – Darkrider (Reinforced)
Peshay – Protege EP (Reinforced)
Internal Affairs – Internal Affairs EP (Reinforced)
Studio II – Planet Dance (ST001)
Noise Factory – The Capsule EP (3rd Party)
Bay B Kane – The Return Of Bay B Kane (Ruff Guidance)
Tom and Jerry – Dancer (Tom and Jerry)

Dave Sector – Two Hungry Ghosts (Beats And Bleeps)

Goldie – Redemption [Jon Dixon Ambient Mix] (Metalheadz)
Audiokern – Set Off (Klangkeller Records)
Emotional Ty – Mountains & Rivers (EMTY)
Zoo Brazil – Outputs (clipp:art)
Highrise – Summertime Breeze (Breaks N Pieces)
Unknown Artist – Get Down (Semi-Skimmed Edits)
Jneiro Jarel – After A Thousand Years (Far Out)
Various Artists – Breaking The Beats (Z)
Nikitch & Kuna Maze – The Leak [Domu & Sonar’s Ghost Remixes] (Tru Thoughts)
Domu – Demos 1999 To 2009 (Self Release)
Freddie Gibbs & The Alchemist – Alfredo (ESGN)